I haven't seen a foreign movie for half a year. Today, I accidentally remembered that De Niro has released a new movie. As a loyal fan from "Raging Bull", I went back and chased it again.
There are many old foreign filmmakers, such as Woody Allen, Eastwood, De Niro, these old men who were all-powerful actors in their youth, become screenwriters, directors, and producers, and they can maintain at least two years. With the output of one film a year, and having experienced more than 50 films in their lifetime, you have to admit that they are already talented.
For movies, every director will have his own way. Jiang Wen's method is to sell off, to put it bluntly, it is insincere, and he only cares about Wanhua's work, forgetting that the reason why a movie is a movie is because of itself; Chen Kaige's method is the output of values, he always feels that the movie needs to tell the audience something. , but he is not smarter than the average audience, so the audience always feels that they are educated by a passerby; Zhang Yimou's way seems not so obvious, he is between sincerity and hypocrisy.
I like Nolan's way. From the very first fragment of memory (breaking the shackles of the film's own right to speak), to Batman 6 (creating a new era of commercial films), to Inception, what we see is A director full of flowers is talking to you at length, telling a dream-like story. He has values, he has all kinds of resources and technologies, he has ideas and souls, but he doesn't tell you anything, he just wants to tell you a story, so we see that the movie has gone through a hundred years After that, I returned to the diorama-like picture itself from "Factory Gate". This is a spiral process, and this is an eternal proposition, that is, what is a movie in the end. Nolan uses his vigorous vitality to give us an interpretation of the most essential and quietest definition of film.
I don't like Kitano, I don't like Woody Allen, I like Eastwood. Eastwood is such an old man, he's a cool-looking actor, and he's a big hit. He changed his career to become a screenwriter and a director, and he conveyed to us the things of the Western film era in a modern way, with a kind of transplanting of ideas, to tell us about the westernization of today's society, that kind of mythical metaphor. In the mood of Westerns, he re-deconstructs the psychological wasteland, value orientation and judgment of today's society. But about Eastwood, you just think he's a violent little job that keeps climbing and ends perfectly in "Classic Car", he's carrying a pistol and wearing spurs, picking the best piece for himself cemetery.
So, I saw De Niro. De Niro is still the drunken De Niro, he is still the foul-mouthed De Niro, he is still the de Niro who wanders in depravity and radiance. Everyone will remember the face hidden in the dark in "Raging Bull", and everyone will remember the disdain on his face when he pointed a gun at someone's head in an American gangster movie. However, "Stone" is the home of the old man.
When Antonioni made his last movie that year, he walked alone to an open door of light before the end of his life. He faced death and accepted the call of God. So, we saw that De Niro also opened a door for himself.
"Stone" is not complicated, it can even be said to be a dull film. His story is so simple that it could even be said that there is no story. Fully meets the "40-word summary" guideline required by screenwriters. However, he has hidden countless nodes in the story itself, and these nodes can be spliced together at will to form the story of an old man's life. He no longer uses guns, swear words, and violence. He only uses fire, a form of energy transmission that science has yet to express, to interpret light, God, and a person's life.
De Niro has always dared to use a lot of dialogue, seemingly preaching, but every sentence is straight to the heart. You don't feel like you're receiving a Chen Kaige-style education, you're just watching the dialogue between the pros and cons, so long, but so good-looking, it can pull you in, like his face hidden in the dark, you only hear the stretch cry, but you can see his heart.
De Niro used a little twist in the story, which reminds me of American Beauty, but he didn't play it well, just a hidden twist at the end, we can see De Niro is also thinking about it The story, he hopes that the story itself can be better, and then there can be so-called meditation, so-called expression.
What impressed us the most was probably the wandering of an old man, but we didn't see the result of this old man's wandering. We only saw the earth, grass, eagle, and rotting deer, all of which were irrelevant. The montage of , was played with ease by this man. In fact, although all we see are fragments, we really see his heart.
He's not making movies, he's using movies to talk to God.
We don't know the result of the dialogue, but we see the process of the dialogue, just as we don't know the result of life itself, but we see life itself. "Stone" is De Niro's summary of his life. He is manic, he is confused, he is intoxicated with money, but at the same time, he is forced to think, and finally searches in despair. In the end, he was just an old man with nothing.
This is the result of the conversation. We saw the life of an old man. We saw a wonderful man-god dialogue. We also saw the movie itself.
That's why many people ask me why I think it's not good to let bullets fly. In fact, I think that in this era, when commercial films and art films are flooded, in this era when everyone's aesthetic level has surpassed simple innovation, after this era In the modern consumer society, when people simply want to consume entertainment from art, the most important thing is only two words.
"sincere".
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